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Davide Sora

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Everything posted by Davide Sora

  1. There are all sorts of theories for asymmetrical or symmetrical thicknesses, but if asymmetrical they have to be I think the most sensible thing is to have a greater thickness under the soundpost than on the opposite side. This may help you orient the thickness maps. Having said that, I confirm that some of The Strad posters contain errors, including those of having reported a thickness map of other instruments, although I don't know if that's the case with your poster. Anyway, better investigate before copying weird things...
  2. Keep in mind that copying the thicknesses exactly doesn't make much sense if you don't have wood with the exact same properties as that of the original, which is rather difficult to occur or simply to know. Additionally, poster thicknesses may include repairs such as soundpost patches, chest patches, other patches, etc. But I don't know the Stainer poster you refer to.
  3. Normally they are seen from the outside, as can be understood in some posters where the position of a possible soundpost patch is indicated.
  4. Asking me which one I prefer would be like asking a parent which is their favorite child Honestly I couldn't choose, I like them both, each has both physical and acoustical features which makes them very interesting to my eyes and ears. Then, after all, what matters is the judgment of who will have to make music with them, not my personal preference
  5. I made this video with two of my violins to fuel the eternal Stradivari vs Guarneri dispute. https://www.youtube.com/watch?v=j3q_VsTfHE4 Don't take it seriously, the title is obviously ironic. These are the two violins "starring" in the video.
  6. Of course, this detail of the pegbox may have undergone changes because so many scrolls are grafted and wear may also have played a role. Here is an example of Amati pegbox with original neck (scroll not grafted) which shows quite well the divergence of the inside walls of the pegbox towards the nut.
  7. The safety data sheet does not mention abrasives, but only solvents which are the ones that could cause toxicity problems. I do not think it is mandatory to mention inert non-toxic or non-poisonous powders in the MSDS. https://maestronet.com/forum/index.php?/topic/335625-another-polishing-with-texture-question/page/3/
  8. There is always a thinning of the walls as they approach the nut, due to the difference in width between the pegbox and the neck. This "asymmetry" (but I would not call it that because it is in fact symmetrical on both sides) is more pronounced on narrow pegboxes and serves to maintain a sufficient inside width to accommodate the strings, preventing them from leaning against the walls or forming an angle on the nut. In the Amati, this widening of the inside towards the nut is typical and rather accentuated, in Stradivari and del Gesù it is less evident because they make their pegboxes wider, even if to a certain extent it is inevitable unless you make cello-like jaws.
  9. Of course I didn't mean that the wolf may have been intentionally copied What I meant, is that if you make an exact copy of a violin you might get the same "negative" side effects as wolves, so I was wondering if the original had similar wolf problems. It would be good to be aware of these things when deciding to get a copy, knowing the behavior of the original might give you some clues in advance.
  10. Still having room for improvement makes me feel young
  11. There is some evidence that he did, besides those mentioned by M. Darnton there are many original drowing for lutes, pochettes, guitars, viola da Gamba, viola d'amore, cornerless violin or violas, and even some weird and long cello like instruments or probably strange viola da gamba. And maybe I forget something ... I think there is little doubt that it is a original Stradivari guitar, there are others too, and they all correspond to his drawings. Of course there could well be a conspiracy that falsified all the drawings and instruments, created "ad hoc" to deceive people, so nothing would be original, and Stradivari himself would never have existed, because they also created false notarial deeds and archival documents such as "stati delle anime" (the censuses of the time) to invent its existence
  12. I don't know the details of the attribution, but we have Stradivari's original drawings of that harp at the museum, which are very matching
  13. Here are the last three videos, concluding the bridge and string setting soap opera. https://www.youtube.com/watch?v=iA_ODs863qI https://www.youtube.com/watch?v=eXO03_9qMJ8 https://www.youtube.com/watch?v=pw-haYyUPr0&t=73s
  14. Yes, as far as i know that is the only survived example of an original Stradivari neck.
  15. Nice video, thanks for posting. However, I don't like accelerated shooting so much, they make me a little anxious because they communicate a rush to work which is not exactly my thing, and they don't show real gestures. However, they significantly reduce the duration of the video which could be useful for not boring viewers and perhaps is a stylistic choice of the videomaker to stand out.
  16. Nice shot John, thanks. Yours looks like a real shot, I only photographed a part of a picture from a book
  17. Yep, traces of nails and "original" neck (no graft of the scroll). There are great photos of this violin (named Dornroschen or Sleeping beauty) in Brandmair & Greiner's book Stradivari Varnish
  18. It might be a staining from absorbed rainwater, but I'm not sure at all and it looks a little too homogeneous to be, I've never seen anything like it.
  19. Just curious, was the wolf already present when you bought the violin? If so, why did you purchase it? If the reason is in the sound that fascinated you, I fear that solving the wolf problem will irreparably change that sound you loved. Another question comes to my mind: being a copy of a Strad 1713, doesn't the original also have the same wolf problem? It would be something to consider carefully when commissioning copies.
  20. Indeed a very clever solution.
  21. Normally not, as far as I know most use the mortised neck. But who knows, there is always some eccentric personality who tries different things, such as this unknown maker https://josephcurtinstudios.com/instruments/ultralight/
  22. An abraded surface, whatever the system, will always have an unnatural opacity compared to the lack of luster derived from the patina of old instruments. So don't expect to get the same appearance by sanding the surfaces, you may try to find something you like but it will always be a different effect.
  23. It would be important to know if he uses a mortised neck or if he nails or screws it on, which would make more sense to me with such a thin top block. But he does not show this crucial detail (and many others), perhaps he intentionally wants to arouse curiosity to feed the discussion to get advertised...
  24. Thanks, I'm glad they can be of some use to someone
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